Remake of the previous Dick Downey Amelie puppet for the West End Production. A new puppet was required for the new lead actress. I worked with Izzy Bristow at the start of the project carving the body and hands and assembling the joints.

Apologies for low quality of Film more finished production photos coming soon!


I worked as a Puppet Apprentice on ‘Dragons and Mythical Beasts’ with Max Humphries, Cheryl ‘Chuck’ Brown, and Izzy Bristow.  Working on Puppet Construction and Fabrication in Bristol and Farnham.  I was trained in Pattern Cutting, Scrimming and a mixture of finishes. 

More Promotion and Production Images coming soon!

Early sketches of the puppets that will feature in the show. – ©2020DragonsandBeasts 


Turbulent weather, non-stop rain and flash floods, not to mention Storm Karen, lead to a changed Earth, no longer belonging to the humans but the Fish!

Watch the fishies get accustomed to their new life, exploring the empty homes of the humans and making Earth their own, maybe picking up a few of our habits on the way. Filmed on mobile phones and made with whatever materials available to us at the time, ‘Something’s Fishy…’ is an exploration into puppetry using traditional and new techniques to tell our story. All parts of the film were filmed separately with the makers in Wales, England and even the Netherlands. Everything was completed over ten weeks in complete Covid lockdown with no in-person communication.

 Creative director and group leader – Em Spoor

Year 2 Students – Ania Levy, Sacha Van Sutphen, and Lizzie Doody 

Project Designed and led for RWCMD by Lucy Hall

Puppetry Tutors – Jess Jones, Dik Downey, and Olivia Racionzer

During the making part of the project,  I made weekly vlogs to help myself learn how to edit on Abobe Premiere Pro. It documents my process and experience with making a puppet film while working in complete isolation in my childhood bedroom on top of dealing with a worldwide pandemic. The footage spans three weeks and shows a personal look into my process and contribution to the final film. 

You can also check out the full sketchbook I completed during the research, design and make processes by clicking the link below to view my digital sketchbook. 

Plan and storyboard for a Marionette Whale Shark along with the final puppet made entirely from cardboard, with a carved body and strips of corrugated cardboard and watercolour paint to finish.

Finished aluminium fish made to be puppeteered both in and out of the water
Underwater camera test and the proposal
2D paper "Office Fish" and News Reporter, a type of puppetry that lended itself perfectly to filming
Polymer clay and breadcrumb fish finger as no fish film is complete without one


©2019 Richard Finkelstein

Young music lover Eva follows a noisy cat into Prague’s House of Glutz and discovers a collection of unusual sculptures and their owner, the grumpy elderly Count Glutz. Eva discovers that the statues react to music and come to life to dance, sing and fly. After finding out that Glutz and the statues are about to lose their home to an evil developer, Eva decided to help. But will she stop Cigar and his suit-wearing goons from bulldozing the house and building a shopping mall? Can Eva and the statues find a way to raise the money needed to save the House of Glutz?

A collaboration between the students of the Royal Welsh College of Music and Drama. Bringing together designers, stage managers, actors and jazz musicians with the guidance of directors and experienced puppeteers.

Performed as part of the 2019 Prague Quadrennial in Jan Palach Square and later developed to perform in Cardiff at the Anthony Hopkins Building, where schools were invited to watch the show with tickets also available to the public.

A video taken by an audience member at one of our Cardiff performances, showing scenes from throughout the show. 

A short video made by the college to promote the show. 

©2019 Kirsten Mcternan

My role during the making process of Glutz was to create three pigeons that appear at the beginning of the show pecking around the audience and attacking the ‘Tour Guide’ as she leads the audience through the show.

 As the script put very bluntly they also had to be “shitting pigoens” and be able to poop on people on request.

I created one that rolled on the floor through the use of a salvaged scooter wheel and two that flew with moving wing mechanisms. 

The floor pigeons released a pre-made ‘Ready Brek™’ mixture through the puppeteers squeezing a bottle at the top of a hollow handle made from a pipe leading to the pigeons behind. While the flying pigeons used an internal mechanism, not unlike a pinball machine with a line attached to the wing mech so when the wings were pulled tight to the body the string pulled tight and released a handful of corn kernels – as the idea of releasing ‘Ready Brek™’ poop onto unexpecting audience members was quickly shut down.

Sketchbook and production photos of the pigeon puppets –  the wheeled along ‘floor pigeons’ and the ‘sky pigeons’ with their wing mechanism.

I also had the chance to design the arm mechanism for the main villain ‘Cigar.’ I used a simple pipe and fabric mech as the basis and added on additional parts to allow the wrist to be able to twist the full 180 degrees, and to allow the puppeteers to control the movement from behind. Cigar ended up being puppeteered by 2 people, with one wearing his legs and controlling the head and one arm, and the other controlling his dominant hand. I ended up on his right hand and added an additional trick to him by placing a magnet into the palm of his hand to allow him to hold things during the show.

©2019 Kirsten Mcternan